What to make of Chekov?

Speaking of Chek(h)ov, there has been a cyber legend that Pravda questioned the lack of a "Russian" member on the international crew of Star Trek, and so Gene Roddenberry felt compelled to create the character Ensign Chekov. Snopes questions the story on several counts. Nothing has apparently been found in the Pravda archives to verify this claim, and young Pavel looks suspiciously like Davy Jones (mop heads were quite popular at the time). But, if you look at young Anton Chekhov and young Pavel Chekov there is some resemblance ; ) It seems Roddenberry was already cultivating myths back in the 60s that would keep Trekkies going for decades afterward.

It struck me that Roddenberry was more drawn to the voyages of Captain Cook than he was the space race in creating the original series. For whatever reason, he felt compelled to introduce a Russian character, probably in an effort to show that the Cold War really would come to an end some day and the space race would evolve into a joint effort. Turned out to be quite prescient in this regard, as the famous Apollo-Soyuz joint mission proved in 1975. A number of collaborative efforts have been carried out in the years since.

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Ward No. 6

Ward No. 6 is a short story written by Chekhov in 1892. It has appeared in various collections of Chekhov short stories, including The Horse-Stealers and Other Stories translated by Constance Garnett in 1921. In this story, Chekhov explores the inner working of a run-down lunatic asylum in a provincial town. He introduces the readers to a coarse porter who speaks mostly with his fists, various patients, a doctor who presides over this ward, and expresses his thoughts with a local postmaster. It was recently made into a movie , featuring Vladimir Ilyin. Here's a clip . There's also this very recent short film (30 min.) by Suzana Purkovic, with English subtitles.

Light and Dark

I'm still trying to sort out the ending. The story had to end tragically but was surprised that Rogozhin actually sought forgiveness in Myshkin after what he had done to Nastya, although I think that Dostoevsky intended the two to be read as one, along similar lines as The Double . He kept Rogozhin a shadowy figure throughout the novel, ever lurking in the dark of the Prince's soul. Try as he might, Prince Myshkin could not alter events and thus the fantasy world he had lived in upon returning to Russia crumbled before his eyes, leaving him at a total loss as how to reconcile himself with it. Once again, Dostoevsky plumbs great depths of the human soul. This is a psychological drama told in theatrical terms, perfectly suited for the stage. Characters appear and disappear as if moving from the shadows of the stage. I can see the "green bench" as the central stage piece. In the final part, one gets the sense that Lebedev is orchestrating events, and may even

The Morning of Our Motherland

I was watching a History channel special on Socialist Realism art of the Soviet Union and this was one of the grand canvases that is now stuffed away in the Tretyakov State Gallery . The painter was Fyodor Shurpin and he had a wonderful eye for detail, right down to the secret service black car on the road to Stalin's right. To the left, one sees a row of combines turning over the field of golden wheat, which became symbolic of Stalin's Soviet Union. Утро нашей Родины is from 1949, with Stalin radiating a post-war confidence. It is also known as Dawn of our Fatherland and other titles. Shurpin was one of the better artists to carry over from the pre-war years. The narrator pointed out how socialist realist art changed dramatically as a result of the war, becoming much more static and propagandist in appearance. He pointed to two stops along the Moscow subway as an example of this divide. Here, Shurpin essentially transposes Stalin for an earlier "Mother"

Chekhov's Gun

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